Followers of the UK debates around cultural and academic boycott will be well aware of the launch of the new anti-boycott group ‘Culture for Co-existence’, a response to this year’s significant formation of Artists For Palestine UK (APUK), which has to date garnered over 1090 signatures for its Artists Pledge for Palestine, and has in addition published a 64 page book The Case for a Cultural Boycott of Israel, a comprehensive response to all the questions that typically arise about the campaign.

In their recent brief letter to The Guardian (Oct 23) signed by, among others, J.K. Rowling and Simon Schama, ‘Culture for Co-existence’ argues that ‘Cultural boycotts singling out Israel are divisive and discriminatory and do not bring peace’ while ‘cultural engagement builds bridges, nurtures freedom and positive movement for change.’

I was sorry and frustrated, but not surprised, to see the cultural and academic boycott of Israel once again misrepresented by its opponents. Rather than research the issue and respond to the detailed case we have time and again put forward, the signatories have made veiled accusations of anti-Semitism, and in their own defense have offered only easy slogans that bear no relevance to how the arts are in fact leveraged in Israel.

Once again it must be pointed out that pro-boycott campaigners do not ‘single out’ Israel. Many of us also reject funding or prizes from other authoritarian regimes. I’ve never been offered such a prize, but I didn’t watch a minute of the Sochi Olympics – and this was a sacrifice, as I love figure skating. Not watching TV is not, however, an effective political action. The boycott of Israel has gained such traction and visibility – and carries additional moral weight – because it is not simply a set of isolated refusals, but a growing collective response to an organised call made by the Palestinians themselves. This demand for solidarity from artists, writers and academics comes from the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI), whose existence ‘Culture for Co-existence’ signally fails to acknowledge.

In addition, far from being ‘discriminatory’, the entire boycott movement is grounded in respect for human rights and international law. It does not target individuals at all, let alone on the basis of religion or nationality. Rather, it rejects co-operation with Israeli institutions and the Israeli state, insisting that we not accept cultural offerings funded by a government actively engaged in ethnic cleansing and illegal occupation in defense of an apartheid state. Like its great precedent against apartheid South Africa, the boycott also asks international artists to reject commercial ventures in Israel until such time as the country honours its responsibilities under international law. If signatories would not have ‘played Sun City’, then they should not play Tel Aviv.

I am a poet and novelist and I do believe in the power of art to generate empathy and understanding for others. But art exists within a globalised economy of money and power, and cultural products cannot be automatically assumed to nurture positive political change: in fact, they may well do the opposite. In the case of Israel ‘cultural bridges’ serve only to strengthen a highly privileged relationship with the West. Decades worth of literary prizes, rock-n-roll concerts in Tel Aviv, and state-sponsored theatre tours of UK have not led to freedom for the Palestinians and peace for all in the region. Cultural engagement has not even put a brake on Israel’s relentless expansion of settlements, its demographic warfare on its Arab citizens, or its ruthless assaults on Gaza. In Israel the arts flourish, but the situation for the Palestinians simply gets worse. Cultural events are not neutral, either: they buttress the country’s self-styled reputation as a ‘liberal democracy’, a reputation that ensures its war crimes do not simply go unpunished, but are rewarded with sympathy, respect, and eye-watering amounts of military and financial aid.

In contrast, the boycott, divestment and sanctions movement subjects Israel to sustained moral pressure, and provokes the honest and informed debate that all campaign proponents welcome. Finally, cultural and academic boycott does not burn bridges. Nothing in the PACBI call prevents cultural exchanges or intellectual collaborations between Israelis and Palestinians, or visits to the UK from Israeli artists, as long as these events do not involve Israeli state or institutional funding.

For further replies to the ‘Culture for Co-existence’ letter, please see PACBI’s Open Letter to JK Rowling, the astute analysis by BWISP member Sarah Irving of the Zionist actors driving the group, and statements by British artists for APUK.

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Very sadly, I must also report in this update the loss of novelist, short story writer and BWISP co-founder Irving Weinman, who died suddenly on October 26th 2015, at the age of 78. His loss will be keenly felt by many. I first met Irving in 2007, when I came to Lewes to interview his wife Judith Kazantzis about her poetry. At the end of the interview, Irving joined us from the kitchen with three stubby bottles of beer on a tray, and we never looked back. I became a frequent visitor to their colourful home, often spoiled by Irving’s fabulous pescatarian cooking, always entertained by his marvelous raconteurship and inspired by his warm internationalism. Irving’s parents were shtetl Jews from Romania who lived in Paris before emigrated to Boston in the thirties where Irving was born. His mother spoke seven languages and Irving grew up hearing mainly Yiddish, Russian and French, and also much music in the house. A talented jazz pianist, Irving switched allegiance to literature in his youth. He attended writing classes with Sylvia Plath and Anne Sexton, called James Baldwin ‘Jimmy’, and co-founded the Key West Writers Workshop and Lewes Needlewriters. As well as successful crime novels, he wrote powerful literary fiction. Wolf Tones is funny and tough, a punchy, insightful portrait of a difficult father-son relationship, and ‘the sad arterioscleroris of America’.

Irving, Judith and I founded British Writers In Support of Palestine in 2010, and Irving was a prime force behind BWISP’s early recruitment drive and letter writing campaigns. He also lent his significant presence to local supermarket protests, and spent four weeks in 2010 as a driver for the Road to Hope Convoy to Gaza, blogging en route. In a tribute penned for his own anti-fascist blog and reposted by Jews for Justice for Palestine, Tony Greenstein notes ‘Irving stood in an anti-racist tradition that went back to the Jewish fight against anti-Semitism in Europe, not the Zionist tradition of anti-Arab racism. Irving was proud to be Jewish. His attitude to Israel’s war crimes was ‘not in my name’.’

Recently, Irving published books on the craft of fiction, and was writing short stories based on his family history, including the experience of refugees fleeing the pogroms. He spoke of his mother to me after I returned from Odesa last year – he was very taken by the fact I had seen Isaac Babel’s drinks cabinet in the city’s small Jewish museum. I still have Irving’s copy of Shlomo Sand’s The Invention of the Jewish People on my shelves, and there are many more conversations I would dearly love to have had with him. He is survived by Judith Kazantzis and her daughter Miranda; his son and daughter in America, Michael and Zoe; as well as grandchildren. Farewell to a wonderful friend.